Tsar Kit Sigma 18-50 / 2.8-4.5 DC OS HSM

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Browse Navigation

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. Stabilizer
  6. Focusing
  7. Image quality
  8. Sample photos with source
  9. My experience
  10. Alternatives (all bright zooms for APS-C)
  11. Prices
  12. Results
  13. User Comments
  14. Add your review / comment or question on the lens

In the review, the SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer lens will be abbreviated as Sigma 18-50 / 2.8-4.5 OS. The overview shows the version for cameras Nikon DX Series with Nikon F mount.This lens was also produced for Sigma SA, Canon EF / EFS, Pentax K and Sony / Minotla A mounts.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

In short

The Sigma 18-50 / 2.8-4.5 OS is a versatile lens with a convenient range of focal lengths for cropped SLR cameras of various systems. First of all, it attracts with a very low price in the aftermarket, built-in image stabilization, high aperture and high-quality assembly. By itself, the Sigma 18-50 / 2.8-4.5 OS is one of a kind.

Sigma 18-50 / 2.8-4.5 OS can be used as a replacement for class 18-55 / 3.5-5.6 kit lenses. It should be noted that this is the cheapest F / 2.8 lens with image stabilization and is the only such lens with an internal zoom.

Sigma 18-50 / 2.8-4.5 OS is somewhere in between super budget Sigma 18-50mm 1: 3.5-5.6 DC and not bad Sigma DC 17-70mm 1: 2.8-4 MACRO HSM OS.

The Sigma 18-50 / 2.8-4.5 OS is not optically brilliant, but overall it is quite good. I would call the Sigma 18-50 / 2.8-4.5 OS a whale lens on steroids, or whale king.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

History

Sigma 18-50 / 2.8-4.5 OS was presented on March 3, 2009. Conceptually Sigma 18-50 / 2.8-4.5 OS is closer to the Sigma DC 17-70 / 2.8-4 (4.5) line than to the line of professional solutions of the Sigma 17 class ( 18) -50 / 2.8 or amateur solutions Sigma 18-50 / 3.5-5.6 DC or Sigma 18-125 / 3.5-5.6 DC.

  1. Sigma DC 17-70mm 1: 2.8-4.5Scheme 15/12, since February 2006
  2. Sigma DC 17-70mm 1: 2.8-4.5 MACRO HSMDiagram 15/12, from July 2007, for Nikon cameras only
  3. Sigma DC 18-50mm 1: 2.8-4.5 HSM OS, scheme 16/12, from March 2009 (from this review)
  4. Sigma DC 17-70mm 1: 2.8-4 MACRO HSM OSScheme 17/13, from December 2009
  5. Sigma DC 17-70mm 1: 2.8-4 Contemporary Macro HSM OSScheme 16/14, from September 2012

Actually, the Sigma 18-50 / 2.8-4.5 OS is not a kit lens. A kit lens (from the English word 'kit' - 'set') is the lens that is sold in a kit along with some kind of camera. Sigma 18-50 / 2.8-4.5 OS sold separately. But due to the fact that most often a kit lens for cropped cameras is a lens with a similar set of focal lengths, the Sigma 18-50 / 2.8-4.5 OS can also be conventionally called 'whale'.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Main technical characteristics of SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer:

Review Instance Name Near the front lens: 'SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Ø 67 LENS MADE IN JAPAN'

On the case: 'SIGMA DC HSM Optical Stabilizer' + serial number

Basic properties
  • DC (Digital Camera) - the lens is designed for SLR cameras with an APS-C sensor, in this case it is an analogue 'Nikon DX'
  • OS (Optical Stabilizer) - built-in optical image stabilizer
  • HSM (Hyper Sabout nothing Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'.
  • AF / M - simple focus mode switch
  • Internal zoom
  • IF (Iinternal Focusing) - internal focus
  • Super Multi-Layer Coating - super multicoated optics
  • ASP (Aspenherical) - aspherical elements in the optical scheme
  • SLD (Special Low Dispersion) - special low-dispersion elements in the optical scheme
  • Lack of aperture control ring, analog 'Nikon G'
  • Bayonet hood included
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 67 mm
Focal length 18-50 mm EGF for Nikon DX cameras is 27-75 mm
Zoom ratio 2.78 X (usually rounded to 3)
Designed by for Nikon DX digital cameras, there are modifications for other systems

  • Sigma sa
  • Canon EF / EFS
  • Sony A / Minolta A
  • Pentax K
Number of aperture blades 7 rounded petals
Tags
  • focusing distance in meters and feet
  • focal lengths for 18, 24, 28, 35, 50 mm
  • bayonet mount mark
  • hood attachment / fixing mark
  • IN / OUT marks for installing the hood
Diaphragm control is via the camera menu (analog Nikon G - lens type)

  • 18 mm - F / 2.8-F / 22
  • 24 mm - F / 3.2-F / 25
  • 28 mm - F / 3.3-F / 29
  • 35 mm - F / 3.8-F / 29
  • 50 mm - F / 4.5-F / 36
MDF 0.3 m, maximum magnification ratio 1: 4.16
The weight 395 grams claimed

According to my measurements 386 grams (the lens itself, without caps and hood, version for Nikon F)

Optical design 16 elements in 12 groups:

  • 3 aspherical ASP elements (in the optical diagram, aspherical elements are shown in pink)
  • 2 low-dispersion FLD elements (shown in green in the optical diagram)

Optical design SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical StabilizerImage of optical circuit clickable

Lens hood LH780-03, bayonet type, plastic, transportable
Manufacturer country LENS MADE IN JAPAN (Lens made in Japan)
Production period From March 3, 2009, in December 2009, supplemented Sigma DC 17-70mm 1: 2.8-4 MACRO HSM OS... There was no direct replacement for the lens. It is now considered an archival model.
Price

Sigma 18-50 / 2.8-4.5 OS attracts with its unusual aperture value. Typically 'dark' general purpose lenses have aperture ratio of 1: 3.5-5.6. The difference with these lenses between F / 3.5 and F / 2.8 (wide-angle) is 1.56 times (about 2/3 stops). The difference between F / 4.5 and F / 5.6 (in the tele range) is also 1.56 times (about 2/3 stops). It's a shame, but F / 2.8 is only available at 18mm focal length, as soon as you turn the zoom ring a little, the F value becomes F / 3.0.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Assembly

Sigma 18-50 / 2.8-4.5 OS was manufactured in Japan. The lens is pleasant and weighty to the touch. An interesting feature of the lens is the internal zoom - when the focal length is changed, the lens does not change its dimensions, the front lens remains stationary. This is very unusual and rare for such inexpensive lenses. The zoom ring can be rotated with one finger. Internal zoom is usually found in more expensive solutions such as telephoto cameras. Sigma 50-150 / 2.8, or Sigma 70-200 / 2.8.

Lens weighs just under 400 grams. On small cameras such as Nikon D3200, the weight balance is not shifted.

The lens uses small filters with a diameter of 67 mm.

Part of the lens barrel and hood has a characteristic sigma velvet coating, which tend to quickly overwrite or get dirty or climb around. But these parts are small, and therefore do not particularly worry about this.

There is a bayonet mount mark on the body and a mark for quick installation of the hood. The lens uses a plastic hood that is fixed in special grooves located near the front lens of the lens. On the hood there are arrows labeled 'IN' and 'OUT', in the direction of which the hood should be installed and removed. The hood can be installed in upside down for transportation. In this position, access to the focusing ring is lost.

When changing the focal length, the rear lens moves in the middle of the lens body like a pump - draws in and pushes out air, which can increase the amount of dust that accumulates in the camera. On the lens removed from the camera, from the rear lens side, at 50 mm of the focal length, gears and other lens interiors are visible.

For Sigma 18-50 / 2.8-4.5 OS, the direction of rotation of the zoom and focus rings do not match with the direction of the original Nikon 16-80 / 2.8-4E VR or Nikon 16-85 / 3.5-5.6G VR.

The lens has metal bayonet. Most of the internal lens elements are also made of metal. The zoom and focus rings are rubberized. The change in focal length is smooth. The zoom ring rotates 90 degrees. The build of the Sigma 18-50 / 2.8-4.5 OS is no worse than that of a more advanced similar lens in the professional series - Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM.

Number of petals aperture - 7 pieces. At the same time, they are weakly rounded and form an irregular heptagon on strongly covered diaphragms.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Stabilizer

Sigma 18-50 / 2.8-4.5 OS has an integrated Sigma Optical Stabilizer image stabilizer. It is stated that the stabilizer allows you to compensate 4 steps by shutter speed. In values excerpts this means you can shoot at shutter speeds up to 16 times slower than a lens without a stabilizer would require. But in practice, the stabilizer works out in the region of 2-3 steps. I effortlessly managed to capture sharp shots of stationary objects with shutter speed 1/10 of a second at 18 mm of focal length and 1/10 of a second at 50 mm of focal length. If you try, you can achieve longer shutter speeds.

On the case there is a stabilizer operating mode switch 'OS ON / OFF'. Where 'OS' is short for 'Optical Stabilizer'.

The stabilizer has its own characteristics. If you listen to the inside of the lens, you can hear a very slight noise / hum in the middle of the lens, even if the stabilizer is in the 'OFF' position. When you press the focus button / metering activation button exposure, or turning on Live View, the noise just increases a little - apparently the stabilizer starts working at full power. When turning off the camera, even if the gimbal was in the 'OFF' position, JVI noticeably how the image twitches, and also the noise from the lens parking is heard - this is a sign that the stabilizer has turned off 'again'. It turns out that the stabilizer works partially even in the 'OFF' position.

On my cameras Nikon D3200 и Nikon D40on which I tested this lens, Sigma 18-50 / 2.8-4.5 OS does not automatically turn off the metering after the time interval specified in the settings. Himself the stabilizer always turns off after 1 minute of inactivity (this time cannot be adjusted, even if the exposure meter’s operating time is set longer), after which the exposure metering time specified in the camera’s settings passes and also turns off. Thus, the stabilizer with the camera turned on continues to work much longer than with similar original lenses, and all this time the built-in exposure meter makes it work. This can negatively affect the battery level.. But not everything is so scary, at full charge Nikon D40 with Sigma 18-50 / 2.8-4.5 OS with the stabilizer turned on and auto focus, it gives out about 2000 frames without a flash, with other lenses you can take a little more than 3000 frames.

During the included Live View, including when shooting video, the stabilizer works constantly. The stabilizer in video mode makes the picture much smoother and its work can not be overestimated.

I observed similar unusual behavior of the stabilizer on many other Sigma lenses, for example, Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM.

In the version for Sony and Pentax cameras, the lens also has a built-in stabilizer, which is rare for these systems. The lens stabilizer is paired with a stabilizer located on the sensor.

Original similar lenses Nikon 16-80 / 2.8-4E VR и Nikon 16-85 / 3.5-5.6G VR They have an additional 'Normal / Active' gimbal switch on their body, which allows you to choose a more effective gimbal operation method, for example, when shooting from a tripod or from a moving platform.

Important: if you remove the lens from the camera, or turn off the camera and slightly shake the lens, you will clearly hear something in the middle hanging out. This is a block of stabilizing lenses. This is the normal state of things.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Focusing

The lens uses focus ultrasonic focusing motor 'HSM' (Hyper Sonic Motor), but in this case it is ordinary, compact, not ring type. In general, this is an analogue of compact Nikon SWM motors. In terms of the Nikon system, the Sigma 18-50 / 2.8-4.5 OS lens is similar to an 'AF-S' type lens.

The lens will automatically focus on all Nikon DSLR cameraseven on amateur series models Nikon DXthat do not have a built-in focus motor: D40, D40x, D60, D3000, D3100, D3200, D3300, D3400, D3500, D5000, D5100, D5200, D5300, D5500, D5600as well as mirrorless cameras Nikon Z with adapter FTZ / FTZ II.

During autofocus, the motor performs its work quite quietly, but still the noise from the focusing motor is clearly audible in videos recorded using the built-in microphone in the camera. In Live View, a characteristic crackling sound is heard when the focus direction is changed frequently.

Auto Focus Speed average... The focusing speed is sufficient for comfortable work in most photographic tasks. Focus speed is slower than, for example, the original similar Nikon 16-85 / 3.5-5.6G VR.

When used on cameras Fujifilm FienPix S5 Pro и Nikon D3200 with unpretentious Multi-CAM 1000 focusing system the lens behaves well. With precision and clinging focus, I had no particular problems. The same goes for use on Nikon D40, which uses the most primitive phase focusing module. On camera Nikon D3200 I checked the presence of back and front focus at different focusing distances (infinity and MDF including). As a measure, the images were taken using the Live View mode (which does not suffer from back / front focus). The focusing accuracy using phase sensors is exactly the same as the Live View mode. The lens also performs well in Live View. In general, almost all Sigma lenses from around the same period have no particular focusing problems.

The focus ring is rubberized and rotates approximately 60 degrees in manual focus mode. When extreme positions are reached, the ring abuts. The focus ring rotates easily. Manual focus is not very convenient. Direction of rotation of the focus ring does not match with original Nikon 16-85 / 3.5-5.6G VR. In automatic focus mode, the focus ring rotates and cannot be touched at this time. The range of distances is greatly 'knocked down' ranging from a meter to infinity, from which manual focusing is inconvenient and difficult. Focus manually through JVI at distances beyond 1 meter it is quite difficult.

Lens has internal focus, the front lens remains stationary during focusing. It is possible to use various filters without any problems.

The lens has a focusing distance scale in meters and feet marked on the focusing ring. The number of values ​​on the scale is small, the scale itself is not very useful. There are only values ​​for 0.3, 0.35, 0.5, 0.7, 1 meter and infinity mark. There are no depth of field scales and no marks for working in the infrared spectrum.

The minimum focusing distance is only 30 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 4.2. it not a bad indicator for a similar lens. Thus, the lens allows you to shoot a good amateur 'close'.

The lens has focus mode switch 'AF / M'. For manual focus, the lens must be necessarily switched to 'M' mode, otherwise the focusing motor may be damaged. Unfortunately, unlike many Nikon lenses of this type, the Sigma 18-50 / 2.8-4.5 OS does not support manual focus control all the time.

Focus Features:

  1. When changing the focal length, focusing is lost
  2. Sigma 18-50 / 2.8-4.5 OS has a subtle 'Focus Breathing' effect (changes in the angle of view during focusing). When focusing towards MDF, the angle of view increases
  3. Focus Shift (focus shift, changing focus distance due to iris)
  4. Sigma 18-50 / 2.8-4.5 OS does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions. For accurate aiming at infinity, you can’t just bring the focus ring to its extreme position
  5. The lens transmits the distance to the subject in the camera and is Nikon D-lens equivalent... Focus distance transmission affects metering performance, especially when using flash. Nikon flash for simple situations SB-910 worked correctly with this lens in i-TTL modes
  6. Important: Sigma 18-50 / 2.8-4.5 OS is a third-party lens. It may happen that it will not work correctly with some cameras. Details on this issue are considered by me. here
  7. Teleconverter compatibility unknown
  8. Unknown compatibility with Nikon FTZ adapter for Nikon Z mirrorless cameras and unknown compatibility with the Nikon FT1 adapter for cameras Nikon 1
SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Image quality

The lens was developed at a time when the cameras with the highest pixel density were Canon EOS 50D/Canon EOS 500D 15 MP. Nowadays the Sigma 18-50 / 2.8-4.5 OS does a poor job with 24MP APS-C sensors.

Sigma 18-50 / 2.8-4.5 OS has mixed performance in terms of image quality.

Sharpness

  • Consistent wide-angle sharpness in the center of the frame, especially at 18mm. In this range, in the center of the frame, the maximum resolution that the lens gives is achieved.
  • very weak sharpness at the edges and corners of the frame at open apertures
  • good resolution in the center of the frame at closed apertures in the range of 24-50 (around F / 8)
  • there is an overall slight drop in sharpness with increasing focal length

Distortion

  • the overall level of distortion is at a level typical for such lenses
  • rather strong distortion is visible only by 18 mm
  • distortion is practically absent and imperceptible in the range of 24-35 mm
  • the nature of distortion is unified, easily corrected in the editor

Vignetting

  • vignetting is most pronounced at extreme positions: 18 mm at F / 2.8
  • with increasing focal length, vignetting at an open aperture decreases
  • vignetting almost disappears at closed aperture values
  • vignetting is practically independent of the focusing distance
  • vignetting is easily fixable in the editor

Aberration

  • the strongest chromatic aberration visible at 18 mm and F / 2.8 at the edges and corners of the image
  • chromatic aberration decrease with increasing focal length
  • general level HA is at the level typical for such lenses

Other

  • the lens tolerates side and backlight not bad, but still in some situations you can get a plentiful amount of glare
  • aperture blades form a curved heptagon at heavily covered values
  • on closed diaphragms you can get a pronounced effect of a 14-ray star

The data on this lens is in most popular RAW converters (it is definitely in ACR, Lightroom), which makes it very easy to correct distortion and vignetting with one click.

But in modern cameras, this lens is not 'sewn up' and it will be impossible to obtain automatic correction of some optical defects of the lens. For example, on camera Nikon D3200 with installed Sigma 18-50 / 2.8-4.5 OS function 'Auto. distortion control 'is inactive.

Important: the final result of images with Nikon cameras is greatly influenced by the settings Picture Control, which is responsible for the options for managing snapshots. If you correctly configure it right in the camera, you can very quickly get a good result in JPEG. Likewise, you can easily and quickly develop / convert original RAW ('.NEF') images with even better results. For example, you can use the original free Capture NX-D utility (link to download from the official site) and in just two or three clicks significantly improve the final image result. You can easily get a pleasant picture with good sharpness, color and tonal transitions, remove some of the optical imperfections of the lens (for example, some aberrations, distortion, vignetting). It's simple and very important points, which can radically change the final result and the impression of a particular lens. With such simple manipulations, you can get a pleasant and fairly high-quality result. Unfortunately, the original Nikon software does not have a Russian language menu. You can also use third-party RAW converters, for example, Adobe Lightroom. Thoughts on how to easily batch convert files using a lens profile in Lightroom are explained here.

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Sample photos on Fujifilm FinePix S5 Pro (APS-C 6 + 6 MP, Super CCD)

On-camera JPEG from the legendary camera Fujifilm FienPix S5 Pro (built on the basis Nikon D200, Nikon F mount, 6 + 6 MP SuperCCD SR II sensor).

Original photos in JPEG format ('.jpg') can be download from this link (29 files, 150 MB).

Sample photos on Nikon D3200 (APS-C 24 MP, CMOS)

Examples on Nikon D3200... All photos passed through filters from the NIK COLLECTION 3 collection, which is currently being handled by DXO. I'm a big fan of different filters from NIK COLLECTION, however, it turned out that the functionality and set of filters / presets for NIK COLLECTION 3 is identical to the functionality of NIK COLLECTION 2, which was completely free at one time.

Original RAW photos (12-bit '.NEF') can be download from this link (11 files, 200 MB). Camera Nikon D3200, APS-C Kf = 1.5X sensor (Nikon DX), 24 MP with AA filter. Such a sensor with a high pixel density allows you to check the lens well for resolution. The lens was used without a light filter, only with a hood.

Nikon D40 sample photos (APS-C 6 MP, CCD)

Sample photos on Sigma 18-50 / 2.8-4.5 OS and Nikon D40 (only hardcore!) prepared tatyana_tatjyana (instagram), which has repeatedly helped me with examples of photographs on similar inexpensive lenses: Nikon 18-55 / 3.5-5.6G II, Nikon 18-55 / 3.5-5.6G VR, Sigma DC 17-70 / 2.8-4.5Sigma 28-70 / 3.5-4.5, Sony E 18-55 / 3.5-5.6 OSS, Redmire Xiaomi Note Pro 8 etc. The examples of photos in the gallery below have been slightly improved, artifacts from dirt on the sensor have been removed. The lens has been used with protective light filter CALUMET 67mm Ultraviolet UV JAPAN without hood.

Original RAW photos (12-bit '.NEF') can be download from this link (40 files, 200 MB).

My experience

I pursue the idea that a photographer or amateur photographer should have one good and as fast as possible versatile lens for a wide range of tasks. The station wagon is the base from which you can shoot almost anything. To this base, it is then worth adding other creative / artistic / special lenses of a narrower specialization.

I got the Sigma 18-50 / 2.8-4.5 OS lens by accident, went to the shooting with it several times, took it as a shirik-station wagon.

Optically, Sigma 18-50 / 2.8-4.5 OS is no better than modern kit lenses of class 18-55 / 3.5-5.6 (and the like), so I don't see much sense in changing my stock kit lens to Sigma 18-50 / 2.8-4.5 OS. But as the first standard lens for a camera without a lens (body) Sigma 18-50 / 2.8-4.5 OS is a very attractive solution and in this case I recommend Sigma 18-50 / 2.8-4.5 OS as the first lens or universal zoom for those users who do not have such a solution. For example, I know amateur photographers who only have one 35mm prime or one 50mm prime. For such fans, the Sigma 18-50 / 2.8-4.5 OS will be just right.

I have tried all versions of the Sigma 17-70 / 2.8-4 (4.5) lenses and must conclude that this is a very successful line of lenses (see the list in the 'Alternatives' section). It partially allows you to touch the functionality of the EX series lenses, for example, the popular Sigma 17-50 / 2.8 EX OS and at the same time has a very nice price tag, especially in the aftermarket.

For the amateur photographer who wants to change their standard kit lens of class 18-55 / 3.5-5.6 (or similar) for something else, it is still better to look at the Sigma 17-70 / 2.8-4 (4.5) series than the Sigma 18 -50 / 2.8-4.5 OS. These lenses allow you to get the coveted F / 2.8, amateur 'macro', extended focal length range (17 vs 18, 70 vs 55) and all this for a very reasonable price.

Sigma 18-50 / 2.8-4.5 OS is very peculiar, one of a kind. I remember it for the internal zoom, which is extremely rare (do you know similar solutions with an internal zoom?).

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer


All fast universal zoom lenses

Below is a list of all such aperture-type universal zoom autofocus lenses for SLR and mirrorless cameras with an APS-C sensor or less.

Tokina (DX, various mounts)

  1. Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus, model AT-X 165 PRO DX, for Canon (C / EF version) and Nikon (N / AIS version), since July 2006. The optical design is similar to the lens Pentax SMC DA * 16-50mm f / 2.8 ED AL (IF) SDM

Tamron (DI II, DI III-A, various mounts)

  1. Tamron Aspherical LD ​​XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 N / E / P / S (under Nikon [N], Canon [E], Pentax [P], Sony / Minolta [S]), since February 2006. Produced in Japan, China and Vietnam
  2. promaster DIGITAL XR EDO AF Ashperical LD ​​[IF] 17-50 mm 1: 2.8 MACROprevious lens under the brand Promaster
  3. Tamron Aspherical LD ​​XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 NII (only for Nikon cameras), since March 2008
  4. Tamron Di II SP 17-50 mm F / 2.8 VC B005, model B005 E / NII (for Canon [E] or Nikon [NII]), from September 2009, Japan or China)
  5. Tamron 17-70 mm F / 2.8 Di III-A VC RXD Model B070, Model B070, Sony E only, from December 2020

Sigma (DC, different mounts)

With constant maximum aperture (DC EX and DC ART series):

  1. Sigma DC ZOOM 18-50mm 1: 2.8 EX (+ -D), since July 2004, for Sigma SA, Nikon F, Canon EFS, Pentax K. The version for the '4/3' system has been available since February 2006 (not mass-produced). The version for Nikon in its name includes the prefix 'D'.
  2. Sigma dc 18-50mm 1: 2.8 EX MACRO, from September 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K
  3. Sigma dc 18-50mm 1: 2.8 EX MACRO HSM, since June 2007, for Nikon DX cameras only (Nikon F mount)
  4. Sigma dc 17-50mm 1: 2.8 ZOOM EXOS HSM, from February 2010, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  5. Sigma dc 18-35mm F1.8 A [ART, HSM], from April 2013, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  6. SIGMA DC 18-50 mm 1: 2.8 DN C [Contemporary], since Oct 2021, for Sony E, Leica L

With variable maximum aperture (DC and DC Contemporary series):

  1. Sigma dc 17-70mm 1:2.8-4.5, February 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  2. Sigma dc 17-70mm 1:2.8-4.5 MACRO HSM, from July 2007, for Nikon DX cameras only (Nikon F mount)
  3. Sigma dc 17-70mm 1:2.8-4 MACRO HSM OS, from December 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  4. Sigma dc 17-70mm 1:2.8-4 C, [MACRO, OS, HSM, Contemporary], from September 2012, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  5. Sigma dc 18-50mm 1:2.8-4.5 HSM OS ZOOM, from March 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A

Nikon (DX, F mount)

  1. Nikon DX VR AF-S Nikkor 16-80mm 1:2.8-4E ED N, Nikon F mount, from July 2015
  2. Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM, Nikon F mount, from July 2003

Pentax (DA, Q, K and Q mounts)

  1. Pentax SMC DA * 16-50 mm 1: 2.8 ED AL (IF) SDM, Pentax KAF2 bayonet mount, since February 2007. Optical design similar to lens Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus (joint development of Tokina and Pentax)
  2. HD PENTAX-DA * 1: 2.8 16-50 mm ED PLMAW, from July 2021, Pentax KAF4 mount
  3. HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 bayonet mount, black or silver, from November 2013
  4. SMC Pentax 1: 2.8-4.5 5-15 mm ED AL [IF] [LENS 02], Pentax Q mount (with crop factor Kf = 5.53X or Kf = 4.65X)

Canon (EFS, EF-S mount)

  1. Canon Zoom Lens EF-S 17-55mm 1: 2.8 IS USM (Image Sabilizer, Ulstrasonic, EFS), Canon EF-S mount, since May 2006

Sony (DT, A and E mounts)

  1. Sony DT 2.8/16-50 SSM, Sony A mount (Minolta A), August 2011
  2. Sony E 2.8/16-55G, Sony E bayonet mount, from August 2019

Fujifilm(X)

  1. Fujinon Ashperical Lens Nano-GI XF 16-55mm 1: 2.8 R LM WR, Fujifilm X mount, since January 2015
  2. Fujinon Ashperical Lens Super EBC XF 18-55mm 1:2.8-4 R LM OIS, Fujifilm X mount, September 2012

Samsung (NX)

  1. Samsung lens 1: 2-2.8 S 16-50 mm ED OIS i-Function, Samsung NX mount, since January 2014

Olympus / Panasonic / Leica (4/3, Micro 4/3, Kf = 2X)

Mirrored 4/3:

  1. OLYMPUS ZUIKO Digital 11-22 mm 1: 2.8-3.5since February 2004
  2. OLYMPUS Digital 14-54 mm 1: 2.8-3.5since June 2003
  3. OLYMPUS Digital 14-54 mm 1: 2.8-3.5 IIsince November 2008
  4. OLYMPUS ZUIKO Digital 14-35 mm 1: 2 ED SWDsince January 2008
  5. Panasonic Lumix LEICA D VARIO-ELMARIT 1: 2.8-3.5 /14-50 ASPH. MEGA OISsince July 2006

Mirrorless Micro 4/3:

  1. OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1: 2.8 PROsince October 2013
  2. Panasonic Lumix Leica DG Vario-Summilux 10-25 mm f / 1.7 ASPH.since May 2019
  3. LUMIX G VARIO 1: 2.8 /12-35 ASPH. POWER OIS, from June 2012, in March 2017 an improved version is released (outwardly no different)
  4. Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12-60 ASPH.since March 2017

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer

Price

Prices for the SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer can be viewed at E-Katalog on this link.

Results

Sigma 18-50 / 2.8-4.5 OS is a balanced universal lens for cropped cameras. It is inferior to the functionality of the Sigma 17-70 / 2.8-4 (4.5) line. On the secondary market, Sigma 18-50 / 2.8-4.5 OS can be easily found for little money. Sigma 18-50 / 2.8-4.5 OS - 'king of the whale' with high aperture, HSM motor, image stabilizer and internal zoom (zoom) and internal focusing. It is a pity that the lens has not received an update, since optically it is not far from the kit lenses of the 18-55 / 3.5-5.6 class.

10 main advantages

  1. low cost in the secondary market (especially compared to the original Nikon 16-80 / 2.8-4E VR)
  2. very convenient set of focal lengths for work on cropped cameras with APS-C sensor of the Nikon DX series and at the same time high aperture wide angle
  3. built-in 4-stop IS (but in practice the efficiency is noticeably lower)
  4. built-in HSM focusing motor (critical for owners of low-end Nikon DX cameras)
  5. focus type internal
  6. internal zoom (!)
  7. good build quality: metal lens mount, rubberized focus and zoom rings, bayonet type hood
  8. special optical elements in the optical scheme (SLD, ASP)
  9. the presence of a lens profile in most popular RAW converters (certainly there is in ACR, Lightroom)
  10. generally good optical performance

10 main disadvantages

  1. small stroke of the focus ring, insufficiently convenient manual focusing, rotation of the focusing ring during auto focus, lack of constant manual focus control
  2. reduced focal length compared to classic kit lenses (50 mm VS 55 mm)
  3. stabilizer behavior is not as obvious as similar Nikon Nikkor lenses
  4. the direction of rotation of the focus and zoom ring is not the same as that of similar original lenses such as Nikon 16-80 / 2.8-4E VR
  5. medium (low) auto focus speed (at the same time quite comfortable for most tasks), a little noise from the focus motor
  6. no rubber lens mount sealfor example Nikon 16-85 / 3.5-5.6G VR he is
  7. rear lens movement during focal length changes, air pump effect
  8. there may be incompatibility with some cameras and / or teleconverters (no exact data), lack of data about the lens in modern cameras, which makes it difficult to automatically correct some types of distortion (distortion, vignetting etc.)
  9. Perceptible barrel distortion at 18mm focal length
  10. low resolution in the corners and edges of the frame at open apertures

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Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | Instagram | Twitter | Telegram.

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Comments: 18, on the topic: Tsar Kit Sigma 18-50 / 2.8-4.5 DC OS HSM

  • Oleg

    I thought for a long time about a whale for a kenon, in the end I took a 24mm pancake, which I do not regret. Unfortunately, kenon does not have 18-70 / 4. The ideal whale for me is 18-70 / 4 plus 1: 2 macro. But you can't wait for this from canon, because the crop system will then take on a certified character, and this is already competition for a full frame

    • Oleg

      Sorry. Completed character.

    • Arkady Shapoval

      Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer under Canon EOS, for example, it gives not even 18-70 / 4, but 17-70 with 2.8-4 and 1: 2.7 macro.

      • Oleg

        I mean there are no relatives

        • Roman

          Canon has a native 15-85 / 3.5-5.6. Even more of the range that you need, with a stub and only one stop less at the far end, where it is not so critical. A very decent lens, 15mm at the wide end that's very straight. Solid constructive. For macro, you can screw up the lens or take your own decent 60 (or interesting 35 mm).

          I like 17-55 more, to be honest, it is lighter, and from 50 I already use a telephoto lens. It somehow really turns out that everything ends at 50-55 mm, then you go beyond 100 mm for details, so I don't suffer without these extra millimeters at the long end. But 15-85 as a good native wagon is still relevant.

          • Oleg

            All the same, 5.6 is already boring. As a result, the fixes won, as it spontaneously acquired 24,40,50,85mm. For a trip of 10-18 plus 55-250 in the middle, a 24mm pancake will not take up much space. And the best staff for the price I think is sigma 17-50 / 2.8.

            • Roman

              Hehe. 10-18, 24, 55-250 - exactly my set. Recently, however, I take 35 / 2.8. It has macro and backlighting, very interesting glass.

      • Igor N.

        And if we compare two sigmas - this 17-50
        and 17-70 / 2.8-4.5, then which one will be better optically, is the wide angle especially interesting?

    • Lev

      You use the word "KIT" too often. And this translates as KIT, INCLUDED, and not as the designation of any particular lens. Any volume together with the camera - a whale.

      • Arkady Shapoval

        Well, well, on the Russian-speaking Internet the word "whale" has acquired its meaning, meaning "lens from the kit." This is already a generally accepted meaning.

  • Pokemon

    Photos from D40 and S5Pro are pleasing to the eye and cheer up :)
    The photos were all good, but with D40 what a lively festive color.
    It can be seen that the lens is soft, and or it seemed to me, but there are a bit spherical abberrations.

    • Roman

      Damn, well, go to the sea - there is always such a lively and festive color when the weather is good. Even my native 18-55 made me happy there.

      • Pokemon

        For a long time I notice that according to the reviews of Arcadia, pictures from D40, D80 and Propyatka look more attractive in color.
        Perhaps this is taste.

        • Arkady Shapoval

          You can always 'play' the camera in such a way that it looks good on any camera. D40, S5 Pro - I just personally like it, no more. If you can get something pleasant on the most primitive d40, then all the more you can get a good result on any other modern camera. And yet, the photos on d40 are not mine, as indicated in the review.

          • Pokemon

            Yes, I noticed that photos from d40 are not yours.
            Just how many pictures I have not seen on your site, it is the photos from the CCD matrices that catch the most.

          • Alexey

            I won't say for D40, but D50 lives in the zoo of cameras I have, so sometimes I walk it with 80-200 2.8, it looks ridiculous, the camera is like a plug on optics, however, the color, in good light, it gives out extremely pleasant. And what is even more surprising, AF is always accurate, on the central one, of course, while older Nikons with this glass by 200mm (or so) sometimes miss.

    • Lev

      D40 has a CCD matrix

  • Denis

    unclear ... 18-55 is better

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